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Latest Nowottny sighting :
Marianne Nowottny and State of the Union release
Marianne has contributed a selection to the Elliot Sharp project "State of
The Union 2.001." This 3CD set is finally out, released by the Electronic
Music Foundation, with a beautiful package designed by
Janene Higgins.
There will be a launch event on Monday, Mar. 5, from 7-10PM at Tonic, 107
Norfolk St, NYC with brief performances by
Eszter Balint , Jack Womack, and others, plus a live mix of the SOTU set
by DJ Nico Mazet.
State of the Union 2.001
This amazing 3-CD set of contemporary sound and text-based electric and
electronic music may be just what you need to live a full life. Composer /
performer Elliott Sharp has set aside his saxophone and put his guitar on
the shelf for just long enough to collect one-minute music and sound works
by 171 leading lights of the international avant-garde, both famous and
unknown, that represent a vast array of approaches, attitudes, aesthetics,
ethnicities, musical styles, and social persuasions. He describes the
collection as "concrete, abstract, enraged, objective, caustic, soulful,
sardonic, provocative -- all unfiltered, all clear." It's more than that.
It's totally enjoyable. Unmissable. A bandwagon you should get on without
missing a beat.
CD 1 includes:
Adriana Sa's 'About Sensorship', Alfred Harth's 'Yogurt Karaoque Park-1',
Alan Licht's 'Goon', Allen Kaatz's 'Dub Mix #2', Alma Carey-Zúñiga's 'With
Respect to Areo Pagitica', Alvin Curran's 'ERAT VERBUM John', Angela Babin
and Lori Bingel's 'Naked Dancing Everywhere', Annie Gosfield's 'Manual
Labour Pains', Atau Tanaka's 'mosurge', Becca Schack's 'The Spell', Ben
Boone and James Miley's 'Drunken Bastards #2', Benjamin Chadabe's
'Minutes...', Ben Rubin and Mark Hansen's 'Yahoo / Bounce', Black
Sifichi's 'State of Things' / 'Barbie and her Perilous Anatomy', Blaise
Siwula's 'One Message', Blake Hargreaves and Liam Thurston's 'Check the
checky-specs, rock the telebocket', Bob Holman's 'Shredded Peace', Bruce
Bennett's 'Speaking in Tongues', Carl Stone's 'V2', C.D.'s 'Adelante de su
Presencia', Charles K. Noyes' 'A Minute in the Life', Chop Shop's 'No
Title', Chris Haskett's 'ESL for Machines', Christian Marclay's 'Free Jazz
Shrunk', Chris Mann's 'Double Standard', Chris Rael's 'Shake off that
Coma', Chris Vine's 'State of the A-Bloc', Cook & Swenson's 'America
Inc.', Dael Orlandersmith's 'My Riff', D'Divaz's 'crne oci' ('dark eyes',
excerpt), Dafna Naphtali's '1 min Bounce', Daniel Matej's 'SHARP (on
B-A-C-H)', Dave Soldier and Richard Lair's 'Swing, Swing, Swing', David
First's 'Jingle', David Fulton's 'SOTU 2000', David Gans' 'Pat Bucancer',
David Greenberger's 'The Apes Lecture', David Taylor's 'Ode to Danny
Kaye', Deaf Mute's 'Lathe', Debra DeSalvo's 'Tompkins Square Park', Doug
Henderson's 'Zippo', Donald Knaack's 'Abracadabra', Don Ritter's 'Get',
Dorgon's '4MS', Duck Baker's 'Rag Me Don't Gag Me', Elio Martusciello's
'Zanara Tigre', Emily XYZ and Virgil Moorefield's 'Separation of Church
and State', Eric Mingus' 'Hold On', Eric Rosenzveig's 'A Cop For Every 183
Citizens (Year 2000 / New York City / Millenium Capitol Of The World)',
Eric Shanfield's 'Indivisible Cities', Eszter Balint's 'she's drowning',
Eyeball 9000's 'Song3.mp3', FemNoir's 'PhoneNoir', Figure's 'Americal',
and Foetus' 'Quality Control'.
CD 2 includes:
Frank Rothkamm's 'Sine 0 to 12', Fred Frith's 'Sunshine State', Freight
Elevator Quartet's 'Mediate', GenKen Montgomery's 'Lamination As A Virtual
Metaphor', Gert Jan Prins' 'ja', Hans Tammen's 'Three Channel Guitar',
Harriet Tubman's 'Blossoming', Harry Smith's 'State', Henry Kaiser's 'See
No Evil', i.d.'s '_?*+'{'L=', Ikue Mori's 'If...', Jack Womack's 'Nixon in
New Orleans', Jacob Burckhardt's 'Tomorrow', Jad Fair's 'Paper and Pen',
Jean Marc Montera's 'Ouverte au vent', Jeffrey Ford's 'The Invisible Man's
Time Machine', Jenn Reeves' 'The Money', Joel Chadabe's 'Minutes...', Joey
Baron's 'Holy Crow', John Duncan's 'Open...' and 'Open -- a gesture of
gratitude to the makers of censored sounds you haven't heard, images you
haven't seen, ideas you haven't heard or read... yet', John Hudak's
'Fireworks', Johnny Reinhard's 'On Ogur' (from 'Urartu'), Jonathan
Bepler's 'Small Harness', Jon Rose's 'USTrash2000', Jorge Mancini and
Andrea Fasani's 'Sample - SOTU 2000 / Come To The Origin II', Judy Nylon
and Brian Foster's 'L-I-A-R', Kasper Toeplitz's 'No Scale', Katie
O'Looney's 'Exploitration', Kato Hideki's 'No Tongue Blues', Kazuhisa
Uchihashi's 'Music For States of Union', Keisuke Oki's 'Tokyo Propaganda',
Koji Asano's 'A Cold Summer', Lauren Weinger's 'Place Study #9: Marquette
Grain Elevator', Leon Gruenbaum's 'Desperate Hearts: State of the Romantic
Union', Ligeti / Ritchford's 'Parker's Box', Lloop's 'Tenac', Lo
Galluccio's 'All the Pretty Horses / Let em think my wings iz broke',
Loren Mazzacane Connors' 'Annabel Lee', Love Todd's 'Dangerous', Lost
Satellites' 'Electric Effervescence', Luca Formentini's Vuoto', Luciano
Margorani's 'Vendetta!', Manu Sauvage's 'Speach to the Muted', Marc
Behrens' 'Real Player fucked my Netscape Settings', Marc C.'s 'The Orbit
Room', Marc Ribot's 'Space Walk', Marek Piacek's 'Rainy', Marianne
Nowottny's 'Corridors', Marie Goyette's 'Short-Cut: Borodin', Mark
Dagley's 'Chinch Bug Blues #2', Mark Howell and Tom Hamilton's 'Smudge on
the Radar Screen', Mark Trayle's 'goldT°.2°3', Martha Mooke's 'State of
the Underground', Matt Rogalsky's 'Koll Kash', Matthew Shipp's 'Notes Cry
Out', Merry Fortune w / FAT's 'Who is it that calls subtley perverse?',
Merzbow's 'Cannon Balls', Michael J. Schumacher's 'Sounds End', and Mike
Cooper and Max Nagl's 'The Singing Bridge in Rabat'.
CD 3 includes:
Misha Feigin and Steve Good's 'A Chinese Clicking Duck Music in 5 Parts',
Murat Nehmet-Nejat's 'A Screw into the Universe', Ned Rothenberg's 'High
Jump', Nicolas Collins' 'Puck', Nicolas Dias' 'e-soltitude', Nicolas
Mazet's 'Turbulence', Norman Yamada's 'Coin Toss', blaat's '22', Oblique's
'Double Tongued', Doug Theriault and David Chandler's 'y', Ori Kaplan and
Geoff Mann's 'Is Jerusalame?', PAK's 'One Minute Political Song', Particle
Data Group's 'Interdependence', Pete Missing's 'Digital Out', Phill
Niblock's 'Aomori Water', Phillip Johnston's Transparent Quartet's
'Ta-da', Piero Chianura's 'KHISS', Public Works' 'Hoping it's a dream',
QPE's 'in signed out', Queen Esther's 'Got To Get Back', Raging Peasants'
'Harry+Albert', ReproRappers' '199.9 Mhz' (G. Peccary version), Roberto
Zorzi's 'Stai Zitto!', Roger Kleier's 'Soft Money, Hard Time', Satoko
Fuji's 'Sigh', Saturnalia's 'Fre Actions', D.J. Spazecrafte One's '34th
Ave...' (Edit), Stefan Poetzsch's '4 Channels Viola', Stefano Bassanese's
'Il Flo Interdentale (The Dental Floss)', Stephen Pope's 'Four Magic
Sentences', Stephen Vitiello's 'Caught in the headlights of the Beverly
Hillbillies photo cell recording off of a flickering TV screen', Steve
Dalachinsky's 'Empire' and 'The Wind', Steve Goldberger's 'Le temps
ensuite', Steve Piccolo's 'The Expedition', Tape Beatles' 'Broken
Broadcast', Ted Reichman's 'Gaida Dilemma', Telectu's (Jorge Lima Barreto
and Vitor Rua) 'Duplicator', The Fitzbergs' 'Fishy Go Swim Swim', Thomas
Dimuzio's 'Turnkey', Tom Devaney's 'This Guy Walking In My Head', Tony
Daniel's 'Epitaph', Toni Dove's (with Paul Geluso) 'Attention', Tracie
Morris' 'Djele', Ut Gret's 'Crease the Sky', Viv Corringham and Gareth
Williams' 'Safety or Happiness', Vivian Sisters' 'Freckle People', Voice
Crack's 'shock_hack', Wanda Phipps' 'Desire', We's 'Gerbil Wheel', Wendy
Atlas Oxenhor's 'Loverman', White Out's 'buzz saw trapped in a perfumery
of shrugs', Zammuto's 'Circle of Fits', Zeena Parkins' 'J Cushions E',
Z'ev's 'You Never Know', Zbigniew Karkowski's 'amazonas', and Zoot Horn
Rollo's 'Solo Below'.
Play State of the Union 2.001 on Random Shuffle!
ARCHIGRAM Links from looksmart
"The movement came into being in late 1960, in the
Hampstead area of London as a self-generated forum for several young and recently graduated architects, the major
participants being Peter Cook, Warren Chalk, Ron Herron, David Greene, Dennis Crompton and Mike (Spider) Webb.
The uniting theme of the group was their impatience and dissatisfaction with the limited horizons and stultifying practices
of contemporary modern architecture. Following the tradition of radical modernism enunciated by Nietzsche ("Whoever
wants to be creative . . . . must first . . . . annihilat[e] and destroy values"); and Henrik Ibsen ("The great task of our time
is to blow up all existing institutions - to destroy"), this formative group of young architects set out to dismantle the
apparatus of modern architecture through a series of consciousness-raising and confrontational manifestos."
DOCOMOMO
The term DOCOMOMO stands for Documentation and
Conservation of the Modern Movement.
Raze paradise put up a golf course ?
Fans of Modernism Criticize Cigna's Plan to Raze Offices
To the people with an eye on the bottom line, they are expensive
dinosaurs that should be bulldozed for a golf course. But to the
architects who gathered at a symposium in New Haven two weekends ago to
discuss corporate Modernism, two buildings on the Bloomfield, Conn.,
campus of Cigna Corporation are icons of the International style that
merit praise and preservation.
E-SKEPTIC MAGAZINE FOR FEBRUARY 14, 2001
Copyright 2001 Skeptic magazine, Skeptics Society, Michael Shermer
Permission to print or distribute without permission.
---------------------------------
In this issue of e-Skeptic:
PSYCHIC PARROT
RANDI IN NEW YORK TIMES
PRIORITIES FOR HEALTH
THE HEART AS A BRAIN
---------------------------------
PSYCHIC PARROT
I just filmed a short interview for Wednesday morning (February 15) on ABC's
Good Morning America on N'Kisi, the psychic parrot, a Congo African gray
parrot who Cambridge University biologist Rupert Sheldrake says is additional
evidence for his theory of morphic resonance, a sort of "force" that pervades
the cosmos and allows everything to "remember." N'Kisi's owner, Aimee Morgana
of Manhattan, read Sheldrake's latest book, "Dogs That Know When Their Owners
Are Coming Home and Other Unexplained Powers of Animals," and sent him videos
of her amazing Parrot. N'Kisi, she claims, has a vocabulary of 560 words,
which the parrot repeats with such frequency that occasionally the very
thoughts that Morgana has, by chance match the words being parroted by the
parrot. Of course, that's not how Morgana or Sheldrake see it, so they ran an
experiment in which N'Kisi got 32 correct hits out of 123 trials, which,
Sheldrake says, is a one in a billion probability of happening by chance;
ergo, the parrot is psychic.
I pointed out that N'Kisi missed 91 times, which doesn't sound all that
impressive to me, not to mention the protocol for determining what
constitutes a hit was rather fuzzy. For example, Morgana was looking at a
photograph of a couple embracing, and N'Kisi allegedly says "Can I give you a
hug?" THAT was counted as a hit. Of course, we are not told how often N'Kisi
blurts out that particular phrase, or other phrases for that matter, nor how
many different photos were used by which Sheldrake arrived at his billion to
one odds calculation. One reporter who visited N'Kisi had recently lost her
cat. When she met the parrot, it apparently blurted out "Remember the cat?"
Of course, we are not told what else the parrot said, or what else the
reporter was thinking that day.
In other words, the sum of the coincidences equals certainty. Plus, this all
sounds like a case of "remember the hits, forget the misses." In science we
have to consider the misses as well as the hits. As Frank Sulloways likes to
say, "anecdotes to not make a science."
Check it out Wednesday morning, February 15, on ABC's Good Morning America,
possibly the first hour they said.
--------------------------------------
RANDI IN NEW YORK TIMES ON SATURDAY
I gave a short interview today to the New York Times for a piece they are
doing on James Randi and the power of belief. I was unable to glean if it was
to be a light and positive piece, or whether they are going to be critical,
so check it out. The reporter said it would probably run on Saturday.
--------------------------------------
PRIORITIES FOR HEALTH
The theme of the current issue of Priorities for Health
http://acsh.org/publications/priorities/current.html is pseudoscience.
This double issue includes articles on hair analysis, "junk nursing
science," so-called repressed memory therapy, and "voodoo science"
treatments for autism. Lessons from this issue include: (a) junk science:
not necessarily junk nor science, (b) facilitated communication: doesn't
reliably facilitate communication, and (c) alleged repressed memories:
can become irrepressible. Discuss amongst yourselves at
http://acsh.org/forum/altmed/altmed.html
----------------------------------------
BRAIN IN HEART
Speaking of Rupert Sheldrake and weird biology, this from our friends at the
Front Range Skeptics, Linda and Emily Rosa and Larry Sarner:
I couldn't believe it! On the ABC Evening News tonight, Deborah Amos had a
feature story endorsing "Heart Math" -- one of the kookiest movements of all
time! It's also
referred to as "energy cardiology."
Heart Math folk believe the heart is another brain, capable of independent
thought -- a powerful, supernatural organ responsible for telekenesis, etc.
Amos showed the lighter side of Heart Math, but promoted research that
claims to show Heart Math's therapeutic value in controlling stress, heart
disease and diabetes. School children were shown doing Heart Math
meditation exercises. A doctor specializing in Heart Math is now available
at abc.com for consultation.
http://www.heartmath.org/
http://www.creativespirit.net/henryreed/study_intuition/library/Article34a.htm
http://www.usneighbor.org/business/article-stress.htm
http://www.drlark.com/pages/heart_anger.php
http://www.creativespirit.net/henryreed/bookreviews/4book9808.htm
Discover Your Heart's Awareness
Experiments at the Princeton Engineering Anomalies Research laboratory
reveal human-machine interactions suggestive of a mind-over-matter, or
psychokinetic (PK), influence. Subjects people who attempt to mentally
control the machinery have less success, however, than those who make a
heartfelt connection with the machinery as if it were a living being, and
dialogue with it, asking it for the favor of its compliance. This finding
is one of the ways that Paul Pearsall, Ph.D., in his book, The Heart's
Code: Tapping the Wisdom and Power of our Heart Energy (Broadway Books)
shares an important new perspective on the intelligent awareness of the
heart.
We are familiar with the imaginative powers of the "right brain" versus the
pedestrian thought patterns of the "left brain." Pearsall introduces us to
the even more revolutionary contrast between the lonely, separatist
consciousness of the brain versus the spiritual, humanitarian oneness
awareness of the heart. He likens the heart to the sun and the brain to the
earth. We once thought that the sun revolved around the earth, but the
Copernican revolution reversed that view. A similar revolution is taking
place concerning the relative importance of brain and heart.
It was Arizona University's Gary E. Schwartz, M.D. who pioneered the field
of "energy cardiology." He found that while brain waves (EEG) are weak and
localized around the head, heart waves (EKG) are the body's strongest
electromagnetic signal. Whereas it has been previously thought that the
brain controlled the heart, through the autonomic nervous system,
Schwartz's work led to the discovery that through the circulatory system,
which is more pervasive than the nervous system, the heart has even greater
control over the brain than vice-versa. Researchers at the Heart-Math
Institute like to point out, for
example, that it is difficult to quiet the mind when the brain seems to
keep pumping out thoughts. However, if you focus an attitude of gratitude
through the heart, the brain quiets down. Try it and you'll see. The heart
can control the brain when the brain can't control itself.
A finding of energy cardiology is that cells store info-energy as cellular
memory. The heart regulates the use of the energy in these memories. Heart
transplant recipients, for example, often have memories and personality
tendencies belonging to their heart donors.
Pearsall suggests that energy cardiology provides a new basis for the
mind-body connection. The heart may provide the link between subtle energy
and physical effects. For example, as already mentioned, PK effects are
greater when there is a heart connection. Similarly, when spiritual healing
is approached as a mechanical exercise, the effect is not as strong as when
there is a heart connection between healer and patient. Research at the
Heart-Math Institute shows that the EKGs of the two parties involved become
in synchrony, and the patient begins to resonate with the healer's
info-energy. A similar effect had been shown in the past with brain waves,
but now it appears that the underlying cause of the brain wave
synchronization is the resonance of the heart connection.
Another tenet of energy cardiology is the spiritual dimension. The heart is
associated with love and our connections with others. While the brain is
satisfied being a hermit, the heart is a herd animal and profits from being
able to resonate with other hearts. Pearsall makes a case that for a
healthy heart it is more important who you eat with than what you eat. He
even suggests that the heart may be the seat of telepathy, because heart
waves have a non-local (aka "psychic") omnipresent existence perceptible by
hearts everywhere, making "heart connections" a psychic reality.
My own research combining spiritual development work with psychic training
has born out this conjecture. In our "Intuitive Heart" training, we find
that when people make heart connections with one another, there is an
intuitive, empathic understanding between the two. This intuitive empathy
can be easily demonstrated via a simple form of giving a "psychic reading."
One form of psychic reading involves heartfelt cellular memories described
by Pearsall. Cayce suggested that the best advice we can give another is to
speak from our own experience. In an Intuitive Heart reading, one person
holds a question or concern secretly in the heart. The other person, acting
as the helper, makes a heart connection with the seeker, and prays that a
personal memory will come forward into the helper's mind that will prove
helpful to the seeker. The helper then tells this memory, and explores the
lesson suggested by this experience. People usually find that the memory
and its lesson prove to be very relevant for the seeker. Pearsall would say
that the seeker's question created info-energy that stimulated a
counter-balancing memory dormant within the cells of the helper.
"When Morty Met John : John Cage, Morton Feldman and New York in the 1950's." Including Margaret Leng Tan performance of Cage's "Suite for Toy Piano" (1948) @ Carnagie Hall, reviewed by Tommasini for NYT
"I made this jar...."
-Dave
"Along the banks of the Savannah River, Native Americans some 4500 years ago discovered that fire could harden clay to a stone-like consistency. These unknown people mixed Spanish moss or palmetto fibers with the clay to make the earliest known pottery vessels in North America.
The Edgefield area is endowed with rich clay resources including massive deposits of kaolin, sands, feldspars, and pine trees, all necessary for making pottery.
The Old Edgefield District birthed a stoneware tradition based on Chinese technology using English traditional methods making vessels
with African slave labor. This area has been dubbed the crossroads of clay because of this international mix.
Beginning shortly after 1800, the Landrum family started true pottery manufactories to supply the S.C. backcountry with necessary
everyday utensils. Basically, kitchen and smokehouse utensils were made, but rarely were items made for the table.
This tradition grew to a height circa 1850 when, according to the U.S. census, five potteries employing 35 people produced over 100,000
gallons of pottery. Three out of the five factories were related to the Landrum family. Numerous factories operating over a period of time
at a dozen sites produced a variety of wares, including molding wares.
The heart of the Edgefield stoneware tradition involved manufacture of ware using what is termed today "alkaline" glaze, believed to have
been derived from information passed to the west by French Jesuit priests living in the orient in the early 18th century describing. Chinese
methods for making porcelain. Edgefield potters took similar materials, basically feldspar, wood ashes, lime, and sand-grinding and
blending it to make a crude celadon glaze. Most typically formed were storage jars from one-half to 30 gallons commonly used for
pickling, sating meat, storing lard, etc. Also, jugs for holding vinegars, wines, and spirituous liquors, pitchers, pans, and bowls for the
kitchen; plus pipes and marbles for the simple pleasure of life.
As competition increased, potters, around the early 1840's-began to slip decorate their wares using iron slips and kaolin-based white slips
resulting in objects that are today avidly sought and esteemed by scholars and collectors as some of the best folk art in the south. The
Edgefield tradition produced many jars and vessels in the swag and tassel design neoclassical inspired and adapted from moldings in Charleston town houses. More rarely, they depicted men on horseback, southern belles in hoop skirts, African-Americans toasting each other, chickens, snakes, crows, and pigs-everyday life around them. Beautifully illustrated in slip are the Rhodes Factory pieces with thistles and tulip designs.
Some of the most interesting and sought-after vessels are those by Dave Pottery-a literate slave trained to set type for Dr. Abner Landrum's Pottersville newspaper. Dave commonly signed and dated his ware, and less often wrote simple verseson his sometimes massive 20 and 30 gallon jars and jugs. Some speak of food, religion, shoes, lions, volcanoes, and money.
Also of African origin are pots termed "face vessels"--usually jugs, but sometimes cups, crocks, or pitchers with a face modeled into the object using white kaolin clay for eyes and teeth. These small objects are powerful expressions reminiscent of African sculpture.
The tradition declined about the time of the Civil War, but still continued to produced similar wares for the agrarian economy, with the tradition finally winding down in the 1930's with the production of flower pots. Edgefield proved a training ground for potters who moved with the westward expansion of America to Georgia, western North Carolina, Florida, Alabama, Louisiana, and Texas. Potters that had actually worked in Edgefield wound up in Texas using traditional Edgefield technologies and making similar objects.
Time brought many changes. The death knell of many potters across the country came with the invention of the Mason screwtop jar in 1858. Combined with the move from the farm to the city, the breakup of the plantations, and the slave economy after the Civil War the tradition died in South Carolina."
Composer Xenakis dead @ 78
"Like other of his works, "Metastasis" and "Pithoprakta" were regulated by Poisson's Law of
Large Numbers, which implies that the more numerous the phenomena, the more they tend toward a determinate end — as in flipping a coin. "I have tried to inject determinism into what we call chance," said Mr. Xenakis, who used the scientific word "stochastic" to give a name to this idea of probability in music."
......and he lived to tell the story.
I guess this is net kitch, hunh ?